The whole first teaser trailer, showing a unit of soldiers executing a HALO jump into a burning San Francisco while catching a glimpse of Godzilla amidst the smoke and ruins, to the last shot of Big G doing his iconic roar.

You know you're badass if you make that jump and know what's coming.

On the level of Visual Effects of Awesome, the wide shot of the soldiers falling through the air, trailing red smoke, amid clouds lightning, is impressive.

A fan made trailer includes a quote from Oppenheimer, which is used to a surprisingly good effect-it makes the trailer seem more eerie, and feels much better than the SDCC and official teaser trailers.

Meta Example, the trailer has gained 13 MILLION views in less then 4 full days.

This new Godzilla has been revealed to be officially the biggest Godzilla in his 60 year history, standing over 100 meters high and far more heavily built than any other incarnation.

Toho's new 2016 Godzilla film, Shin Godzilla, is confirmed to be LARGER.

Bryan Cranston's performance as Joe Brody in the Awaken the Truth audio bit and the official trailer is nothing short of convincingly fantastic, almost on par with his performance as Walter White.

His performance overall. Sure, he may not have as much of screen time as the other characters but other than Godzilla himself, he manages to steal the entire film with his heart wrenching portrayal. Hell, one of the main criticisms people have are Cranston not being the main character.

This movie shows how pointless nuking Godzilla is. He was the target of Castle Bravo, a 15 megaton Hydrogen Bomb and the second most powerful nuclear weapon ever detonated. What did it do to him? NOTHING, except providing him with LOTS of radiation to eat afterwards.

Given how iconic Godzilla's Atomic Breath is, naturally it is given proper gravitas in its first use. It seems like Femuto is about to kill Ford, only for a light to shine from beside the Muto. The light trails up, as though the streetlights are coming back on, though the color's a bit off... The light travels upwards as though traveling a mountain with jagged edges. The jagged edges begin to glow—it turns out to be Godzilla, who's back on his feet. Then his mouth glows, he takes a deep breath, and breathes a blast of blue thermonuclear fire right into Femuto's face. Anti-hero or not, Light Is Good indeed.

One great moment is the very brief pause between the energy building up and the actual firing, when Godzilla stares at the Muto and almost seems to smirk, as if to say, "Yeah, this is about to happen." Alternatively, Godzilla finally hitting Femuto with the Atomic Breath, after the latter keeps making loud sounds, can be taken as Big G telling her to just "Shut, UP!"

It arguably qualifies as an In-Universe Crowning Moment of Awesome as well. When Godzilla first fires his Atomic Breath, the soldiers who are carrying away the nuke actually all turn around and gawk for a few moments at the sight of a giant dinosaur blast radioactive energy out of its mouth. It's as if a fire-breathing dragon has walked out of the pages of a fantasy novel.

Soldier #1: The hell was that! Soldier #2: Holy shit! Did you see that?!

It's a nice touch that never happened with all the Japanese suit Godzillas due to technical limitations: Godzilla visibly breathes in. Before, he just opened his mouth and did the awesome. For once, Godzilla really does breathe thermonuclear firepower.

There were known to be instances where people in attendance for the film seeing it for the first time broke out into cheers and applause when Godzilla opened fire for the first time, as the lack of the classic weapon was an often-cited complaint regarding the 1998 film. The fact that the scene is awesome in and of itself probably helped coax that reaction out of these audience members, but the reaction itself merits mention simply because how often does an audience react like that for a few seconds of footage in a movie?

Godzilla killing Femuto with a Mortal Kombat-ish finisher by forcefeeding his Atomic Breath straight down her throat, which kills her in seconds. But the Big G doesn't stop until his breath burns Femuto's head off. Cue the applause.

Best of all, once Femuto's head comes off, the orchestra gives a triumphant fanfare, and Godzilla's victory roar might as well be translated to, "HAIL TO THE KING, BABY!"

The tsunami scene: The song that plays when Serizawa sees Godzilla's dorsal spines protruding from the ocean and heading straight towards him, and when the soldiers shoot at Godzilla as he walks by—it's actually an update of Godzilla's extremely goofy theme song from Godzilla Vs. Hedorah and Godzilla Vs. Megalon. Of all songs, THAT was what they chose...and it was freaking awesome. Listen to the songs and see for yourself. Go ahead,be amazed.

The big reveal in the airport scene: Godzilla enters, wreathed in a background of flames, we have a sweeping pan up his body, he glares down at the Muto, then lets loose with the most famous roar in cinema.

Running with that; every moment he unleashes the full on roar is an audio spectacle that should send shivers through your spine.

Hell, going even further... Godzilla's presence itself is an awe-inspiring thing to behold. It's done so masterfully that, whenever he appears on screen, everyone in-universe and meta-wise just falls silent and watches the King of the Monsters dominate the whole moment despite the panic and intensity that ensues when the Mutos are tearing up everything in sight. The whole gist of him appearing alone speaks volumes about the Big G without him so much as lifting a finger and start a fight, almost like an act of God appearing before the masses and leaving everyone simply in awe. The roar only further capitalizes on this spectacle.

When Hokmuto first attacks the Hawaiian airport, everyone inside the airport starts running and panicking. When Godzilla appears a moment later, the panic is over; everyone is standing in silent shock and awe.

We have to illustrate this moment better. The populace of Hawaii, tourist and native alike, are getting their first taste of monster terror. This thing—this wicked, colossal insect—has arrived, and is tearing up the place. It reaches the airport, and people are screaming in terror, realizing this thing is not only likely to kill them, it's completely devastating their chances of escape. Hokmuto bats aside a helicopter like a child's toy, smashing it to pieces and setting a plane's fuel tank on fire. The plane's burning chassis careens into another, and then another, and the scene is alive with the roar of the exploding fuel and the peoples' screams...when all of a sudden—BOOM. Instant quiet... Then Hokmuto turns to see the new challenger, and spreads its wings to make itself look bigger. Then we pan up the arrival's physical form... SKREEEEEOOONGK!The King has arrived.

How about this: after Godzilla roars, he seems to have a smile (thank his Glasgow Grin for that) on his face, as if he's telling the audience, "I'm back, bitches!"

In San Francisco, Godzilla vs. Hokmuto ends with a very sudden tail swipe that impales Hokmuto into a building.

The look Godzilla gives the flying kaiju (as if he's thinking "What a dick!") right before doing the deed ("Shut UP!" or "SILENCE!" or "Oh, no, ya don't!")

There's really a number of ways to read Big G's expression and another way of looking at it is "I've had enough of you." Seriously, he ended that fight so fast and suddenly, and it's clear Godzilla was just fed up with the male's antics.

The bus driver on the Golden Gate Bridge driving like hell to get Sam and the kids out of there when Godzilla appears. He manages to escape the chaos and get the kids out safely.

Ford destroying the Muto nest before retreating after the other soldiers, and facing down Femuto's wrath. Beyond preventing more Mutos from being born, the destruction managed to catch the attention of the adult Mutos and allow Godzilla to recover. Ford pretty much saved Godzilla.And judging by their shared glance, Godzilla likely knows who to thank for that.

Opening day gave it 38.5 million domestically and 43 million internationally.

Opening weekend tally: $93.2 million (second only to Cap at that point in 2014) and over $100m in worldwide markets.

Bonus kudos to WB learning from their mistakes from marketing Pacific Rim, which did not have mass appeal in the States and underperformed; instead of putting the monster(s) front and center, they centered it around Bryan Cranston's worried character and the wake of destruction, giving it a more appealing "disaster movie" feel and keeping Godzilla (and the plot, right down to the Mutos) mostly under wraps. Evidently, the tease — and the impressive trailers and good reviews — was enough to pique a lot of interest.

In a way, the movie's portrayal of Godzilla's strength and level of vulnerability. Yes, he can be stalled and knocked about here and there, but most importantly, they made sure that military attacks do not work on it. Nuking it didn't work, and standard weaponry only gets it pissed. This Godzilla keeps his God status and is only truly matched by the Muto pair; and even then, when given the opportunity to take them one-on-one, he practically curbstomps them.

The final minute of the film will make you cry Tears of Joy, with Godzilla getting up, walking to the ocean, letting out one final roar, then swimming off to live out the rest of its life. Just awesome doesn't even begin to describe it.

Add in that you can see and hear the people in the city CHEERING when Godzilla wakes up and makes his way out of the city, and it not only cements this as a moment of awesome in addition to solidifying his hero status, it also doubles as a Crowning Moment of Heartwarming, as humanity has firmly stood up collectively and said "We know who he is. He's Godzilla. And he's on our side."

Godzilla could have evaded the collapsing skyscraper. But he doesn't, and that may be why people in a BART station—Elle included—survive instead of being buried under rubble.

The male Muto breaks off from Godzilla so Godzilla goes to fight the female. The two are big and rely on strength so they charge. The female even climbs a building for extra inertia and jumps at Godzilla only to be caught by the throat with one hand and easily pushed back. It gets even better when Godzilla keeps pushing the female back, she uses her strongest arms to brace against two buildings on either side of her only for Godzilla to be barely abated and she is shoved on her back at last.

The ending of the movie. After being viewed as a monster throughout the rest of the film the sight of the people in the stadium cheering Godzilla and the media themselves even praising him as a hero was a sight to behold. It felt like a superhero movie in a sense that, in the end, the hero of the movie finally manages to earn the respect of the civilians.

Ken Watanabe's delivery of the following: "We call him....[dramatic turn].....Gojira". Even more awesome considering that the original line was "Godzilla", but Watanabe convinced Edwards and the producers to let him deliver it with the Japanese name.

I did not feel it was right, because Serizawa is Japanese, and I am Japanese. It would be weird if a Japanese person said ‘Godzilla,’ since the Japanese named him Gojira and call him ‘Gojira.’

Maybe not as "in your face explosions and asskicking" awesome as some other examples, but the sight of Godzilla's spines pointing above the ocean, swaying as he swims, flanked by Naval escort, is pretty awesome for everyone involved. Godzilla's utterly unafraid of the very obvious company, the ships are keeping pace with and staying incredibly close to a giant dinosaur, and the general impression one gets is that of the military escorting a VIP. One could imagine some crewmembers going on deck to take selfies a few yards away from the King of the Monsters; otherwise nobody would believe they had the balls to get that close.

Other Meta Examples

Consider Japan's reaction to this film vs. the 1998 one. Toho despised that film and readily demoted its monster into "Zilla" once the copyright ran out and the rights reverted back, not to mention their retaliation in the form of Godzilla 2000. Meanwhile, the 2014 version is not only being upheld as a proper Godzilla movie, but it's already getting an SH Monster Arts release, meaning that Bandai of Japan is putting its merchandising weight behind it.

One of the reports from the premiere and after-event describes some of the Toho executives and staff crying at their most beloved character's treatment for this movie. This is how utterly awesome it is.

The fact that the movie was so successful that a sequel was confirmed to be in the workstwo days after the premiere of the film. Things just got better when it was confirmed at San Diego Comic-Con that King Ghidorah, Mothra, and Rodan would all appear in the sequel.

Even better, its not just a sequel, but there will be a third movie planned as well. And it was later confirmed that Godzilla will have a rematch with King Kong in it.

As if to sweeten the deal, later in the year, Toho announced it would resume making its own Godzilla films starting in 2016 with Shin Godzilla. The Great Godzilla Revival has begun.

All of the moments from trailers mentioned on this page are tweaked versions of the actual film- and each is even more awesome in their true depiction.

Godzilla grabbing the male MUTO by the shoulder with his teeth and swinging him away like a toy.

You have to give credit to the M.U.T.O's, they truly were a credible threat to Godzilla. They are up there with some of the big Kaiju now in the Godzilla mythos.

The MUTO's resemble the Cloverfield monster, which may make the movie take on a new meaning. Godzilla is symbolically going up against one of the biggest Kaiju in modern cinema and essentially saying "Yeah, you may be terrifying, and destructive, and all of that, but I'm the King!"

Also, the fact that the special effects managed to look convincing on a 160 million dollar budget. That might seem like a lot of money, but it's pretty low budget compared to a lot of blockbusters nowadays. You'd think the film cost more due to how convincing the damage and monsters look.

This also counts as one for Edwards, proving Monsters pulling off a similar feat on it's limited budget wasn't a fluke. The guy really knows how to handle a special effects budget.

How well the film manages to capture the sheer size of the kaiju. Few films have ever managed to capture the feeling of awe and terror something this size would invoke.

Another meta example: how quickly Gareth Edwards has made an impact on Hollywood. He went from directing an indie film with a half-million-dollar budget to directing a Continuity Reboot of one of the most famous monsters of all time is nothing short of impressive by itself, but then there's the fact that Disney was so impressed with the movie that they hired Gareth Edwards to direct a Star Wars spin-off film right after the movie came out!

Legendary's head said that they were not very sure about a sequel to Pacific Rim happening a little before Godzilla's debut. If they were being truthful, then Godzilla's success may very well have been the final push to greenlit Pacific Rim 2 and an animated show.

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